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graphite, as well as individual found or otherwise unusual objects. Katinka Bock’s repeated use of water in her works is not as much significant for the physical effects it produces, as it is for the symbolism it is charged with. Redirecting already occurring sources of water within both urban and rural landscapes, she builds structures that create a symbiotic relationship between the piece and the context in which it is placed. Incorporating rain water, water from public fountains, water from rivers or from the sea, the sculptures are animated, altered or adapted to the flow of the spaces which they interact with. One such example is the piece
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Much of her work is based on fluid movements – instead of breaking, chiseling or hacking, her materials are shaped, folded, cut, or simply placed in a context-specific constellation or construction. Bock prefers to integrate natural materials such as leather, wood, stone, fabric, plaster, ceramics or
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Similarly, Katinka Bock’s work often integrates living natural elements into the physical structures of her installations or sculptures. Creating a symbiotic relationship between the changing and growing fauna and the static man-made construction cast from bronze, trees or plants become an integral
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Katinka Bock’s oeuvre is predominantly focused on the transformative processes that take place when confronting natural and man-made elements, exploring the process through which each aspect transforms the other. Katinka Bock explores the relationship between urban landscapes and natural elements,
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are transported from their previous locations, existing between two different temporal experiences, marked by their past in an uncannily human manner. They inhabit the spaces in which they are placed by the artist, being influenced by their surroundings while also changing them themselves
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At times influenced by their surroundings, Katinka’s works often exist in a highly site-specific context. Based on fluid and shifting elements tied to a certain context, their final form is often difficult to predict and entirely organic. Some works, such as Winter or
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placing her works in open spaces to face the elements, often imprinting her experiences through her materials. Some of her works are balanced in precarious such as the dynamic yet unsteadily placed mobiles resting on lemons in
38:, receiving her diploma in 2002. She was a master student under Inge Mahn until 2004, at the Academy of Fine Arts in Berlin-Weissensee. She received a post-graduate degree from the
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part of her sculptural repertoire and ensure that the works are constantly moving, changing and quite literally growing. The sculpture titled
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She is represented by the
Galerie Jocelyn Wolff in Paris, Meyer Riegger of Berlin and Karlsruhe and Greta Meert in Brussels.
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22:(born 1976) is a German sculptor and visual artist. She lives and works in Paris and Berlin.
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Katinka Bock, T-toxic, 2019, oak wood & bronze, 130 Ă— 112 Ă— 30 cm
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Burnichon, Marie-CĂ©cile (2014). "Ebb and Flow of Forms and Time".
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Marie-CĂ©cile, Burnichon (2007). "Vade mecum for a land surveyor".
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Marie-CĂ©cile, Burnichon (2007). "Vade mecum for a land surveyor".
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Entre les lignes. Le parcours artistique du tramway parisien
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Katinka Bock - École
Nationale des Beaux-arts de Lyon
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Katinka Bock - École
Nationale des Beaux-arts de Lyon
40:École nationale supérieure des beaux-arts de Lyon
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34:and studied sculpture and visual arts at the
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230:. Nantes: Zéro2 éditions. pp. 234–241.
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64:Farben dieses Meeres Balance (zweifach)
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226:Neves, Joana; Patrick, Joly (2016).
155:Rehberg, Vivian (23 February 2010).
211:Boutoux, Thomas (2016). "Opening".
83:independently of human influence.
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258:21st-century German women artists
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36:WeiĂźensee Academy of Art Berlin
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273:German installation artists
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109:"Katinka Bock – Biography"
30:Katinka Bock was born in
157:"Review - Katinka Bock"
16:German artist (b. 1976)
278:Artists from Frankfurt
268:German women sculptors
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198:Katinka Bock. Pazifik
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121:on 14 December 2019
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248:1976 births
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95:References
26:Early life
42:in 2005.
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72:Hysteros
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